Cyborgs in the Studio: Transhuman Vocal Approaches in Gender Nonconforming Recording Artists

This project explores the means by which trans and gender nonconforming (GNC) artists use technological manipulations to vocal performance to signify their gender experience. The introduction and literature review (Chapter 1) situates the discussion in the disciplines of voice studies, embodied cognition, and post- and transhumanism. Chapter 2 examines three songs by genderfluid artist Dorian Electra (they/them): “Career Boy,” “Adam and Steve,” and “Ram It Down,” arguing that timbral shifts accomplished via post-production modification provide a means of “dragging” genderfluidity. Chapter 3 examines three songs by transfeminine artist Cleo McKenzie (she/her) aka TAMAGOTCHI MASSACRE: “MFW MIRRORZ :3 :P xD,” “i’m two years on hormones and i’m still sad i want a refund,” and “mirrorsong*.” I situate the analysis of these works in discussions of glitch art as politics and explore notions of embodiment of glitched sounds. Chapter 4 examines two songs by cisgender artist Merrill Garbus (she/her), “Now as Then” and “Colonizer,” which use the post-production techniques of spatial positioning, layering, and reverb to critique white femininity. I close with a brief epilogue in which I address propose a model for viewing transness through the lens of transhumanism.

Name thesis:degree_name

M.A.

Level thesis:degree_level

masters

Discipline thesis:degree_discipline

School of Music and Dance

Grantor dc:publisher

University of Oregon

Year dc:date.issued

2024

Author dc:creator

• Pinkham, Frances

Advisor dc:contributor.advisor

• Wallmark, Zachary

• gender
• LGBTQ+
• popular music
• transgender
• transhumanism
• voice

Statement dc:rights

• All Rights Reserved.

Language dc:language.iso

en_US

Handle dc:identifier.uri

https://hdl.handle.net/1794/29784

OAI record oai:identifier

https://scholarsbank.uoregon.edu/server/oai/request?verb=GetRecord&metadataPrefix=dim&identifier=oai%3Ascholarsbank.uoregon.edu%3A1794%2F29784